By Sarah Hall
shall@salisburypost.com

Even though pay toilets Greg Kotis saw during a trip to France inspired him to write the book and lyrics for a new musical, did he really have to call it “Urinetown: the Musical”?
When he and composer Mark Hollmann collaborated to write this future Tony-winning show, surely they must have discussed how off-putting that title might be for audiences.
Even the characters themselves acknowledge this, twice. “Nothing can kill a show like too much exposition … or a bad title,” they say early in the performance. Then it comes up near the end when the character of little Sally, played charmingly by Caitlin Springs, whines that nobody will want to come to the show because of what it’s called.
And the Catawba College folks who select shows to be performed for the season ó what were they thinking? Don’t they want people to show up for their productions? Who’s going to want to go to a show about … well … you know … that embarrassing thing everyone does several times a day that we don’t discuss in polite company, and surely don’t sing about?
Well, I believe they were thinking this is a pretty terrific show, and that their students have the guts and talent to bring it to the stage, title and all, and make it a hit.
Director Missy Barnes’ admiration for this clever and satirical show is evident in this bold and nuanced presentation. Barnes also choreographed the show, and the dance moves are one of the strongest aspects of this outstanding production.
The relatively small stage in Hedrick Theatre doesn’t limit the cast’s perfectly timed moves; it frames them. They make full, energetic use of the space. And set designer Chris Zink has turned the stage into a galvanized work of art.
“Urinetown” ignores the fourth wall, including the audience in a presentation that uses satire to instruct us in the form and conventions of musical theatre (while making fun of those customs) and asking us to contemplate some pretty serious issues, even if they are highlighted in hilarious fashion.
The character of Officer Lockstock narrates and guides the audience in this mythical, musical society where environmental crises and capitalism have resulted in a system where the population is required to pay every time they relieve themselves. Lockstock has a busy time between keeping the audience informed and enforcing the law, keeping the ne’er-do-wells from avoiding fees by doing business in the bushes.
Paul Saylor takes on the demanding Lockstock role with aplomb. His timing, singing and dancing are of such professional caliber one forgets he is still a college student. He has a bright future ahead in music theatre, as do many members of this sterling cast.
Indeed, with so many strong cast members in one show, it is impossible to point out all the standouts in this small allotted review space. The singing was first-rate, individually and as an ensemble.
The score was demanding, but the young cast was undaunted. These are probably not tunes you would go home humming, but you’ll be tempted to clap along with the soulful “Run, Freedom, Run!” especially as sung by Jordan Ellis in the role of Bobby Strong.
The female lead of Hope Cladwell is played by Nicole Bowles with the charming innocence of a grown-up Shirley Temple. And of course, the character is named “Hope” for a reason in this play full of symbolism.
Having just come through an election period in which the term socialism seemed to keep popping up, the themes of this show seemed particularly timely. On the surface, it may seem preposterous to have a society where “it’s a privilege to pee” for a fee, as the song says.
What does this say about some of our privileges? Health care, for example.
Urinetown’s oppressed masses get tired of waiting for prosperity to trickle down (pardon the image). They decide they have the right to relieve themselves for free, and they prevail.
Audiences have become accustomed to rooting for the oppressed a la “Les Mis,” but just when you think good has overcome evil, the show throws you a curve and proves that nothing is really certain.
If you’re a parent wondering if this is a show for the kids, that probably depends on your comfort level with frequent, but mostly euphemistic, references to kidney function. In spite of the topic, the characters don’t have “potty-mouths,” with only mild profanity and some fairly benign sexual references. And while “Urinetown” turns out to be a dangerous place, the violence is more cartoonish than threatening.
There’s only two more chances to see Catawba’s “Urinetown: the Musical”ó tonight and tomorrow. Bring spare change. And you may want to “go” before you come.
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Tickets for “Urinetown: the Musical” are $12 for adults and $10 for senior citizens and non-Catawba students. Group rates are available. Showtime is 7:30 p.m.
Call the Catawba College Theatre box office at 704-637-4481.